Chords for The World's Largest Private Rare and Vintage Guitar Collection: Songbirds Guitar Museum | Reverb.com
Tempo:
93.65 bpm
Chords used:
E
Bb
Em
Ab
Gm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
[Gm]
I've always had an admiration for the guitar and for [G] guitarists because you know obviously
the thing that's the most heard and the most out front in the band, the more that I've
done research on this, looking to try [Bbm] and put this together as a business, I started
realizing and kind of [Gm] like immersing myself in [Bb] what the guitar meant to [G] music.
And man, I'm blown away.
[Bb] As a matter of fact, I'm passionate about it because I want other people to get what
I've been missing.
I'm [G] 45 years old and four years ago is when I really [Bb] started studying the instrument and
[Eb] trying to figure out what all it meant.
This thing called the electric guitar kind of created rock and roll, you know.
And if you think about how that impacted [Gm] culture with [G] fashion and opinions and look at what
it's doing today, it's changed everything.
You know, and it's all, if you rewind it back to 1950 when Leo Fender came out with that
Esquire, it [Bb] just changed everything.
[F] You know, it's not a [Gm] bunch of famous people.
It's really just a bunch of [F] guys that love this instrument, that put it together [G] in kind
of a collaborative historical way and it worked out where they let me and David Davidson put
a neat exhibit together and [C] so we've been able to accomplish it.
Well, I'm kind of equally as crazy about these [G] things as they are and they approached us
about the possibility of [Gm] me coming down and helping [G] out and I said, man, this sounds like
right [Gm] up my alley.
It's [C] an astounding collection.
You know, I think all total [Bb] about 1,700 pieces.
[Gm] I'll probably be able to run a bunch of different stuff in through here over time and this [Eb] isn't
even close to, I [Gm] think they said about a third of it that's on [G] display here.
The great thing [Bb] about it is these guitars are accessible to us as well.
[Em] You know, the way the case design is, some of the ones up front, you know, you want to
let them tell the story for the people that maybe aren't as guitar savvy as others and
so we want to talk about how they were made in the period in history and how all that flows together.
You know, you'll sit there in [Dbm] a room [E] full of people, a restaurant full of people and
not even think that every single person in there has a story and so do these.
Sometimes it's the most interesting part of an instrument, it's where it came from and
it's just something [Gb] magical about it that [A] something new [Em] doesn't carry.
[A] You know, it doesn't carry [E] history.
Something new doesn't have any history.
We [Bm] kind of had a vision of [Gb] wanting to do a tiered experience [Ab] and so we kind of wanted
a second tier and I kind of had this idea of the vault.
I don't know, it seemed like it was mentioned in a conversation somewhere along the [F] way
that we do a vault.
So when you come back here, you get the opportunity to sit with a tour guide and they can tell
you more about [Ab] it.
So I didn't want to do as much animation around these guitars and kind of wanted to just have
them by themselves in a case in all their glory and that's kind of what you see behind me.
What's cool about those Esquires, if you look at them, those two have two pickups and I
[E] think there's only been eight documented two pickup Esquires [C] and we have six of [B] them.
I'm not sure why they made those.
[Ab] My research has shown that I think that maybe [Eb] somebody wanted the two pickup Telecaster,
the new model and [Gb] all they had was Esquires and [Bbm] so they probably took the [E] Esquire off
the shelf and routed out another pickup and changed the pickguard and put the electronics in it.
That way they could [B] deliver it to a customer.
I don't know how [Ab] else to think, why would they do a two pickup Esquire when they have a Telecaster?
So it's just [Gb] freaks, you know, it's cool stuff and this place is full of freaks.
That's what I love.
That serial number on that guitar when you remove the neck plate on it is actually a
January date and they didn't bring any of these guitars out until May.
So that's one of the earliest Stratocasters, you know, known period.
So spruce body, that's what makes it kind of, kind of funky and you can tell [Em] it was loved man.
Lap steel [Ab] pickups, [Em] lap steel knobs, lap steel logo.
You know, Leo was convinced that hard rock maple would be stout on its own.
Needless to [Abm] say, Morsture had a different [Ab] answer.
This [C] is a really special guitar, I mean, you just don't see [Ab] a lot of them, you know.
And you got to understand, a lot of times [Gb] the value of an instrument might be, it might
[Em] be twice as much because of who [Bb] owned it.
It might [Em] be twice as much because they, like with a [B] D45 you were talking about, they only
[E] made 91 of them.
You [Bb] know, with a lower quartet, there's only [E] eight possible quartets.
The rarity of something sometimes could be [Em] the reason [Dm] it is [E] what it is.
I don't, you know, I [B] never thought in my wildest dreams [Em] that I would pay that kind of money
for an instrument, but I found [Ab] out that I would.
The thing is, I've only played a handful of them.
I've only gotten to play maybe a half a dozen.
And if there's 1,700, I'd really hate to choose just yet.
[Em] But they've got [E] an advanced jumbo, that's one of those I've [Em] ever played.
They've got a 1942 D28, might be one of the best herringbones [E] I've ever played.
[Bb] I'm not the kind of guy who's munch butter, you know, [E] I'm saying, yeah, this smoke's mine.
You know, I wish I had this one, so.
[A] You [E] might find a 15-year-old kid that'll come in [Gm] here and see a guitar and go, oh, [Ab] Hendrix
played a guitar that looked like [Bb] that.
Jimmy Page [D] played one of those Les Pauls.
[Ab] Bill Monroe played a mandolin like that.
To me, I have the opportunity here to [Em] inspire some people to kind [E] of learn a little bit
about historically what these instruments have done [B] for our [Bb] culture and our music, the
stuff that we [Dbm] love.
I've always had an admiration for the guitar and for [G] guitarists because you know obviously
the thing that's the most heard and the most out front in the band, the more that I've
done research on this, looking to try [Bbm] and put this together as a business, I started
realizing and kind of [Gm] like immersing myself in [Bb] what the guitar meant to [G] music.
And man, I'm blown away.
[Bb] As a matter of fact, I'm passionate about it because I want other people to get what
I've been missing.
I'm [G] 45 years old and four years ago is when I really [Bb] started studying the instrument and
[Eb] trying to figure out what all it meant.
This thing called the electric guitar kind of created rock and roll, you know.
And if you think about how that impacted [Gm] culture with [G] fashion and opinions and look at what
it's doing today, it's changed everything.
You know, and it's all, if you rewind it back to 1950 when Leo Fender came out with that
Esquire, it [Bb] just changed everything.
[F] You know, it's not a [Gm] bunch of famous people.
It's really just a bunch of [F] guys that love this instrument, that put it together [G] in kind
of a collaborative historical way and it worked out where they let me and David Davidson put
a neat exhibit together and [C] so we've been able to accomplish it.
Well, I'm kind of equally as crazy about these [G] things as they are and they approached us
about the possibility of [Gm] me coming down and helping [G] out and I said, man, this sounds like
right [Gm] up my alley.
It's [C] an astounding collection.
You know, I think all total [Bb] about 1,700 pieces.
[Gm] I'll probably be able to run a bunch of different stuff in through here over time and this [Eb] isn't
even close to, I [Gm] think they said about a third of it that's on [G] display here.
The great thing [Bb] about it is these guitars are accessible to us as well.
[Em] You know, the way the case design is, some of the ones up front, you know, you want to
let them tell the story for the people that maybe aren't as guitar savvy as others and
so we want to talk about how they were made in the period in history and how all that flows together.
You know, you'll sit there in [Dbm] a room [E] full of people, a restaurant full of people and
not even think that every single person in there has a story and so do these.
Sometimes it's the most interesting part of an instrument, it's where it came from and
it's just something [Gb] magical about it that [A] something new [Em] doesn't carry.
[A] You know, it doesn't carry [E] history.
Something new doesn't have any history.
We [Bm] kind of had a vision of [Gb] wanting to do a tiered experience [Ab] and so we kind of wanted
a second tier and I kind of had this idea of the vault.
I don't know, it seemed like it was mentioned in a conversation somewhere along the [F] way
that we do a vault.
So when you come back here, you get the opportunity to sit with a tour guide and they can tell
you more about [Ab] it.
So I didn't want to do as much animation around these guitars and kind of wanted to just have
them by themselves in a case in all their glory and that's kind of what you see behind me.
What's cool about those Esquires, if you look at them, those two have two pickups and I
[E] think there's only been eight documented two pickup Esquires [C] and we have six of [B] them.
I'm not sure why they made those.
[Ab] My research has shown that I think that maybe [Eb] somebody wanted the two pickup Telecaster,
the new model and [Gb] all they had was Esquires and [Bbm] so they probably took the [E] Esquire off
the shelf and routed out another pickup and changed the pickguard and put the electronics in it.
That way they could [B] deliver it to a customer.
I don't know how [Ab] else to think, why would they do a two pickup Esquire when they have a Telecaster?
So it's just [Gb] freaks, you know, it's cool stuff and this place is full of freaks.
That's what I love.
That serial number on that guitar when you remove the neck plate on it is actually a
January date and they didn't bring any of these guitars out until May.
So that's one of the earliest Stratocasters, you know, known period.
So spruce body, that's what makes it kind of, kind of funky and you can tell [Em] it was loved man.
Lap steel [Ab] pickups, [Em] lap steel knobs, lap steel logo.
You know, Leo was convinced that hard rock maple would be stout on its own.
Needless to [Abm] say, Morsture had a different [Ab] answer.
This [C] is a really special guitar, I mean, you just don't see [Ab] a lot of them, you know.
And you got to understand, a lot of times [Gb] the value of an instrument might be, it might
[Em] be twice as much because of who [Bb] owned it.
It might [Em] be twice as much because they, like with a [B] D45 you were talking about, they only
[E] made 91 of them.
You [Bb] know, with a lower quartet, there's only [E] eight possible quartets.
The rarity of something sometimes could be [Em] the reason [Dm] it is [E] what it is.
I don't, you know, I [B] never thought in my wildest dreams [Em] that I would pay that kind of money
for an instrument, but I found [Ab] out that I would.
The thing is, I've only played a handful of them.
I've only gotten to play maybe a half a dozen.
And if there's 1,700, I'd really hate to choose just yet.
[Em] But they've got [E] an advanced jumbo, that's one of those I've [Em] ever played.
They've got a 1942 D28, might be one of the best herringbones [E] I've ever played.
[Bb] I'm not the kind of guy who's munch butter, you know, [E] I'm saying, yeah, this smoke's mine.
You know, I wish I had this one, so.
[A] You [E] might find a 15-year-old kid that'll come in [Gm] here and see a guitar and go, oh, [Ab] Hendrix
played a guitar that looked like [Bb] that.
Jimmy Page [D] played one of those Les Pauls.
[Ab] Bill Monroe played a mandolin like that.
To me, I have the opportunity here to [Em] inspire some people to kind [E] of learn a little bit
about historically what these instruments have done [B] for our [Bb] culture and our music, the
stuff that we [Dbm] love.
100% ➙ 94BPM
E
Bb
Em
Ab
Gm
E
Bb
Em
_ _ _ _ _ _ _ _
_ [Gm] _ _ _ _ _ _ _
_ _ _ I've always had an admiration for the guitar and for [G] guitarists because you know obviously
the thing that's the most heard and the most out front in the band, the more that I've
done research on this, looking to try [Bbm] and put this together as a business, I started
realizing and kind of [Gm] like immersing myself in [Bb] what the guitar meant to [G] music.
And man, I'm blown away.
[Bb] As a matter of fact, I'm passionate about it because I want other people to get what
I've been missing.
I'm [G] 45 years old and four years ago is when I really [Bb] started studying the instrument and
[Eb] trying to figure out what all it meant.
This thing called the electric guitar kind of created rock and roll, you know.
And if you think about how that impacted [Gm] culture with [G] fashion and opinions and look at what
it's doing today, it's changed everything.
You know, and it's all, if you rewind it back to 1950 when Leo Fender came out with that
Esquire, it [Bb] just changed everything.
[F] You know, it's not a [Gm] bunch of famous people.
It's really just a bunch of [F] guys that love this instrument, that put it together [G] in kind
of a collaborative historical way and it worked out where they let me and David Davidson put
a neat exhibit together and [C] so we've been able to accomplish it.
Well, I'm kind of equally as crazy about these [G] things as they are and they approached us
about the possibility of [Gm] me coming down and helping [G] out and I said, man, this sounds like
right [Gm] up my alley.
It's [C] an astounding collection.
You know, I think all total [Bb] about 1,700 pieces.
[Gm] I'll probably be able to run a bunch of different stuff in through here over time and this [Eb] isn't
even close to, I [Gm] think they said about a third of it that's on [G] display here.
The great thing [Bb] about it is these guitars are accessible to us as well.
[Em] You know, the way the case design is, some of the ones up front, you know, you want to
let them tell the story for the people that maybe aren't as guitar savvy as others and
so we want to talk about how they were made in the period in history and how all that flows together.
You know, you'll sit there in [Dbm] a room [E] full of people, a restaurant full of people and
not even think that every single person in there has a story and so do these.
Sometimes it's the most interesting part of an instrument, it's where it came from and
it's just something [Gb] magical about it that [A] something new [Em] doesn't carry.
[A] You know, it doesn't carry [E] history.
Something new doesn't have any history.
We [Bm] kind of had a vision of [Gb] wanting to do a tiered experience [Ab] and so we kind of wanted
a second tier and I kind of had this idea of the vault.
I don't know, it seemed like it was mentioned in a conversation somewhere along the [F] way
that we do a vault.
So when you come back here, you get the opportunity to sit with a tour guide and they can tell
you more about [Ab] it.
So I didn't want to do as much animation around these guitars and kind of wanted to just have
them by themselves in a case in all their glory and that's kind of what you see behind me.
What's cool about those Esquires, if you look at them, those two have two pickups and I
[E] think there's only been eight documented two pickup Esquires [C] and we have six of [B] them.
I'm not sure why they made those.
_ [Ab] My research has shown that I think that maybe [Eb] somebody wanted the two pickup Telecaster,
the new model and [Gb] all they had was Esquires and [Bbm] so they probably took the [E] Esquire off
the shelf and routed out another pickup and changed the pickguard and put the electronics in it.
That way they could [B] deliver it to a customer.
I don't know how [Ab] else to think, why would they do a two pickup Esquire when they have a Telecaster?
So it's just [Gb] freaks, you know, it's cool stuff and this place is full of freaks.
That's what I love.
That serial number on that guitar when you remove the neck plate on it is actually a
January date and they didn't bring any of these guitars out until May.
So that's one of the earliest Stratocasters, you know, known period.
So spruce body, that's what makes it kind of, kind of funky and you can tell [Em] it was loved man.
Lap steel [Ab] pickups, [Em] lap steel knobs, lap steel logo.
You know, Leo was convinced that hard rock maple would be stout on its own.
Needless to [Abm] say, Morsture had a different [Ab] answer.
This [C] is a really special guitar, I mean, you just don't see [Ab] a lot of them, you know.
And you got to understand, a lot of times [Gb] the value of an instrument might be, it might
[Em] be twice as much because of who [Bb] owned it.
It might [Em] be twice as much because they, like with a [B] D45 you were talking about, they only
[E] made 91 of them.
You [Bb] know, with a lower quartet, there's only [E] eight possible quartets.
The rarity of something sometimes could be [Em] the reason [Dm] it is [E] what it is.
I don't, you know, I [B] never thought in my wildest dreams [Em] that I would pay that kind of money
for an instrument, but I found [Ab] out that I would. _
The thing is, I've only played a handful of them.
I've only gotten to play maybe a half a dozen.
And if there's 1,700, I'd really hate to choose just yet.
[Em] But they've got [E] an advanced jumbo, that's one of those I've [Em] ever played.
They've got a 1942 D28, might be one of the best herringbones [E] I've ever played.
[Bb] I'm not the kind of guy who's munch butter, you know, [E] I'm saying, yeah, this smoke's mine.
You know, I wish I had this one, so.
[A] You [E] might find a 15-year-old kid that'll come in [Gm] here and see a guitar and go, oh, [Ab] Hendrix
played a guitar that looked like [Bb] that.
Jimmy Page [D] played one of those Les Pauls.
[Ab] Bill Monroe played a mandolin like that.
To me, I have the opportunity here to [Em] inspire some people to kind [E] of learn a little bit
about historically what these instruments have done [B] for our [Bb] culture and our music, the
stuff that we [Dbm] love. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [Gm] _ _ _ _ _ _ _
_ _ _ I've always had an admiration for the guitar and for [G] guitarists because you know obviously
the thing that's the most heard and the most out front in the band, the more that I've
done research on this, looking to try [Bbm] and put this together as a business, I started
realizing and kind of [Gm] like immersing myself in [Bb] what the guitar meant to [G] music.
And man, I'm blown away.
[Bb] As a matter of fact, I'm passionate about it because I want other people to get what
I've been missing.
I'm [G] 45 years old and four years ago is when I really [Bb] started studying the instrument and
[Eb] trying to figure out what all it meant.
This thing called the electric guitar kind of created rock and roll, you know.
And if you think about how that impacted [Gm] culture with [G] fashion and opinions and look at what
it's doing today, it's changed everything.
You know, and it's all, if you rewind it back to 1950 when Leo Fender came out with that
Esquire, it [Bb] just changed everything.
[F] You know, it's not a [Gm] bunch of famous people.
It's really just a bunch of [F] guys that love this instrument, that put it together [G] in kind
of a collaborative historical way and it worked out where they let me and David Davidson put
a neat exhibit together and [C] so we've been able to accomplish it.
Well, I'm kind of equally as crazy about these [G] things as they are and they approached us
about the possibility of [Gm] me coming down and helping [G] out and I said, man, this sounds like
right [Gm] up my alley.
It's [C] an astounding collection.
You know, I think all total [Bb] about 1,700 pieces.
[Gm] I'll probably be able to run a bunch of different stuff in through here over time and this [Eb] isn't
even close to, I [Gm] think they said about a third of it that's on [G] display here.
The great thing [Bb] about it is these guitars are accessible to us as well.
[Em] You know, the way the case design is, some of the ones up front, you know, you want to
let them tell the story for the people that maybe aren't as guitar savvy as others and
so we want to talk about how they were made in the period in history and how all that flows together.
You know, you'll sit there in [Dbm] a room [E] full of people, a restaurant full of people and
not even think that every single person in there has a story and so do these.
Sometimes it's the most interesting part of an instrument, it's where it came from and
it's just something [Gb] magical about it that [A] something new [Em] doesn't carry.
[A] You know, it doesn't carry [E] history.
Something new doesn't have any history.
We [Bm] kind of had a vision of [Gb] wanting to do a tiered experience [Ab] and so we kind of wanted
a second tier and I kind of had this idea of the vault.
I don't know, it seemed like it was mentioned in a conversation somewhere along the [F] way
that we do a vault.
So when you come back here, you get the opportunity to sit with a tour guide and they can tell
you more about [Ab] it.
So I didn't want to do as much animation around these guitars and kind of wanted to just have
them by themselves in a case in all their glory and that's kind of what you see behind me.
What's cool about those Esquires, if you look at them, those two have two pickups and I
[E] think there's only been eight documented two pickup Esquires [C] and we have six of [B] them.
I'm not sure why they made those.
_ [Ab] My research has shown that I think that maybe [Eb] somebody wanted the two pickup Telecaster,
the new model and [Gb] all they had was Esquires and [Bbm] so they probably took the [E] Esquire off
the shelf and routed out another pickup and changed the pickguard and put the electronics in it.
That way they could [B] deliver it to a customer.
I don't know how [Ab] else to think, why would they do a two pickup Esquire when they have a Telecaster?
So it's just [Gb] freaks, you know, it's cool stuff and this place is full of freaks.
That's what I love.
That serial number on that guitar when you remove the neck plate on it is actually a
January date and they didn't bring any of these guitars out until May.
So that's one of the earliest Stratocasters, you know, known period.
So spruce body, that's what makes it kind of, kind of funky and you can tell [Em] it was loved man.
Lap steel [Ab] pickups, [Em] lap steel knobs, lap steel logo.
You know, Leo was convinced that hard rock maple would be stout on its own.
Needless to [Abm] say, Morsture had a different [Ab] answer.
This [C] is a really special guitar, I mean, you just don't see [Ab] a lot of them, you know.
And you got to understand, a lot of times [Gb] the value of an instrument might be, it might
[Em] be twice as much because of who [Bb] owned it.
It might [Em] be twice as much because they, like with a [B] D45 you were talking about, they only
[E] made 91 of them.
You [Bb] know, with a lower quartet, there's only [E] eight possible quartets.
The rarity of something sometimes could be [Em] the reason [Dm] it is [E] what it is.
I don't, you know, I [B] never thought in my wildest dreams [Em] that I would pay that kind of money
for an instrument, but I found [Ab] out that I would. _
The thing is, I've only played a handful of them.
I've only gotten to play maybe a half a dozen.
And if there's 1,700, I'd really hate to choose just yet.
[Em] But they've got [E] an advanced jumbo, that's one of those I've [Em] ever played.
They've got a 1942 D28, might be one of the best herringbones [E] I've ever played.
[Bb] I'm not the kind of guy who's munch butter, you know, [E] I'm saying, yeah, this smoke's mine.
You know, I wish I had this one, so.
[A] You [E] might find a 15-year-old kid that'll come in [Gm] here and see a guitar and go, oh, [Ab] Hendrix
played a guitar that looked like [Bb] that.
Jimmy Page [D] played one of those Les Pauls.
[Ab] Bill Monroe played a mandolin like that.
To me, I have the opportunity here to [Em] inspire some people to kind [E] of learn a little bit
about historically what these instruments have done [B] for our [Bb] culture and our music, the
stuff that we [Dbm] love. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _